There are two distinct facets to Pumeza Matshikiza’s vocal personality on this CD: the singer who is now a ‘fully fledged soprano’ in the opera houses of Europe; and the singer of popular songs associated with the much-loved Miriam Makeba (1932-2008) from her native South Africa.

Her transistion to the operatic stage was inititiated by the composer Kevin Volans, who paid for her ticket to study in London, so it’s nice to have him represented by his song ‘Umzi Watsha’, a cautionary tale along the lines of ‘London’s Burning’. The colours in the haunting, spare accompaniment are conveyed with expert precision by the versatile Aurora Orchestra conducted by Iain Farrington, who should also be congratulated for his arrangements. His reimagining of the original backing tracks to the Makeba songs are immediately appealing and skilfully highlight the individuality of each number. The string chart in ‘Pata, Pata’ (‘Touch, Touch’) is of particular note, the clarinet line adding an individuality to the lolloping rhythm of ‘Holilili’. ‘Malaika’ and ‘Lakutshon’ ilanga’ have the appeal of the Canteloube Songs of the Auvergne, with birdsong adding an extra dimension. A small female group add an enchanting descant to the sweet lullaby ‘Hush I hear you’.

Pumeza’s Mimì is lovingly sung, her line to Rodolfo about keeping her pink bonnet as a souvenir of their love a touching moment in her interpretation. Liù’s aria is well sustained, with nice portamento, but ‘O mio babbino caro’ is a trifle too heavy and her Zerlina scarcely gives credence to a young girl who is trying to soothe her lover’s wounds after being beating up. Both accompaniments are on the slow side. There’s no mistaking the great care with which these performances have been prepared, and the technique is all there; but they lack the spontaniety of the African songs obviously so close to this singer’s heart.